Ferne Jacobs Catalog Revised

More documents

Recommendations

Info

Jacobs moved in a new direction in the early 2000s towardsopenness, undulating appendages, and dazzling color.Over these two decades, Jacobs left the confinement oftraditional vessels behind. Her 3D sculptures stand theirown ground. They stretch and unfurl as open-ended beingswith the interior of each piece just as visible as the exterior.Sculptural wall pieces are dynamic and free flowing. Eachpiece begins as the evolution of a line and Jacobs then letsit develop organically. She only thinks about her next step.The rest is a lengthy and extended process of improvisationand natural development that lasts months.The subtle and rich variations of color in her large rippledwall sculpture, Waterfall, mark the beginning of Jacobs’ useof polychromatic threads of color. Jacobs created vibrantpieces such as Flight (figs. 12 and 13) and Collar (figs. 19 and20), by taking apart existing thread and replying the strandsto make new color combinations. She credits artist KateAnderson for the idea, which expanded her color palettealmost infinitely.In contrast, solid black pieces were a direct response to thelast few years of political turmoil, violence, death, isolation,and social destruction. Two Angels (fig. 10), a wall sculpturewhich is capped by intertwined figures engaged in struggle,marked the start of this dark period. Jacobs honed in onblack as absolute, simple, and without variation. It was atime in which Jacobs was absorbing how, “so much energywas spinning into such negative outcomes.”From these recent years came Interior Passages (fig. 9), aweb of scarlet arteries and veins that is a glimpse under thesurface into what powers us within. Always seeking light indarkness, Jacobs created vibrant Transparent Sunlight (fig.14), a compact, contained bundle of shavings from the sun.She has focused on a consideration of the larger, complexsystems beyond human control that keep everythingCONNECTED CELLS, BREATHING FORMS 21
fig 10.Two Angels,201522BUILDING THE ESSENTIALS: FERNE JACOBS
Page 1 and 2: Building the Essentials:FERNE JACOB
Page 3 and 4: Detail ofDwelling,19844BUILDING THE
Page 5 and 6: Dwelling, 19846BUILDING THE ESSENTI
Page 7 and 8: Connected Cells,Breathing FormsBy E
Page 9 and 10: Fisch suggested Jacobs continue wit
Page 11 and 12: fig 2.Mesas,197412BUILDING THE ESSE
Page 13 and 14: fig 3.Shadow Figure,1976-1977fig 4.
Page 15 and 16: fig 5.Untitled, 197516BUILDING THE
Page 17 and 18: factors we cannot see, whether natu
Page 19: fig 9.Interior Passages,201620BUILD
Page 23 and 24: fig 12.Detail of Flight24BUILDING T
Page 25 and 26: fig 15.Drawing Books,1971-2019fig 1
Page 27 and 28: 28BUILDING THE ESSENTIALS: FERNE JA
Page 29 and 30: and takes on its own form over the
Page 31 and 32: fig 19.Collar, 200532BUILDING THE E
Page 33 and 34: Origins,2017-201834BUILDING THE ESS
Page 35 and 36: ExhibitionChecklist36 BUILDING THE
Page 37 and 38: 38 BUILDING THE ESSENTIALS: FERNE J
Page 41 and 42: Detail ofWaterfall,2000-2001“I st
Page 45 and 46: 1980s CONTAINER FORMSThe Curl Has a
Page 47 and 48: “Black is just what it is,it’s
Page 51 and 52: 52
Page 57 and 58: Artist CV58 BUILDING THE ESSENTIALS
Page 59 and 60: Untitled, 1973Detail ofInterior Pas
Page 61 and 62: SOLO EXHIBITIONS2020, 2012, 2008, 1
Page 65 and 66: Los Angeles, CAOld Traditions / New
Page 69 and 70: About Us70 BUILDING THE ESSENTIALS:
Page 71:
This catalog was published in conju
show all

Ferne Jacobs Catalog Revised

Create successful ePaper yourself

Delete template?

Save as template?